A middle-aged friend recently told me the story of her visit, with her sister, to her grandmother’s house. While they were there, they decided to help spruce up the place beginning with the old rocking chair in the front parlor. It had a broken rocker, the springs were falling out, and it was black with age and neglect. The sisters stripped it, replaced the broken rocker, refinished it and had new upholstery put on.

My friend said it looked really good after all that work, and she and her sister were so proud of themselves until a neighbor rained on their parade by telling them they had destroyed the value of the chair by doing all that work. I asked my friend what the nosy neighbor did for a living. Was he an antiques appraiser? A dealer? A knowledgeable collector? No, just a nosy neighbor giving unsolicited and ill-informed information.

One of the most common phrases in any conversation regarding older and/or antique furniture is “destroy the value.” This can be a valid concern in some cases, but it is not a universal truth that restoration or repair, if properly done, “destroys the value” of anything. In order to make the decision to embark on a restoration or repair project, you must determine two important points, current “value” and ultimate objective.

This Eastlake chair, circa 1880, has original finish, original woven-hair upholstery and is missing the top of the crest rail. Current value—essentially 0 by any measurement.

Determining the value of a given piece of furniture is, at best, difficult. For example, value to whom and value where? Prices in Detroit are different from prices in Birmingham, Ala., and Phoenix. And is price the best way to determine value? To a dealer, it probably is, but to a family member, it probably is secondary or not even a consideration at all. Value, like beauty, is highly subjective and sensitive to current styles and events.

For comparison purposes, three main categories of “value” might be defined as a) Market Value, b) Utilitarian Value and c) Sentimental Value.

MARKET VALUE—If you decide that monetary value or market price is to be your guiding principle in a project, then you have to get out in the market. Go to shops, and see what things sell for. Call a few reputable dealers, and ask if they have an item similar to yours and what it sells for. Read the newspaper classifieds in your area to get a feel for the market. Especially read trade papers that carry auction results from sales IN YOUR AREA. Check realized auction results on Worthopedia.

Above all, be realistic about comparisons. Be sure that you are comparing apples to apples in terms of age, provenance and especially condition. A rocking chair with a broken rocker is not worth as much as an identical chair that is not broken. If you are unsure about the details, ask someone. Most knowledgeable dealers are willing to help you determine value on an informal basis.

The springs are falling out of this Depression-era rocker. A good fix will enhance all of the types of value.

Time spent at the library or perusing the shelves in a good bookstore can often be very enlightening by helping you determine style and period for use in price comparisons, but use these facts only as a general guide. Remember that the market places a higher price on things that have intrinsic value due primarily to their age and rarity. Market price, by definition, is what someone is willing to pay for an object in a given time and location, NOT what is listed in a so-called “price guide.”

UTILITARIAN VALUE—If the piece is not old or rare, it still may have significant value based on its utilitarian functions. For example, a Colonial Revival china cabinet from 1935 may not have the intrinsic collector’s value of, say, a Georgian breakfront, but it will serve as a place to display your cut-glass collection as well as or maybe even better than a brand-new curio cabinet from the local furniture store, provided, of course, that the older cabinet is in good working condition and the finish is decent. In addition, the Colonial Revival piece has already proven itself to be durable by surviving 70-plus years so far, and it probably will last a good many years yet, and someday may even attain some collector’s value.

Another popular item in this category is the armoire converted to an entertainment center. As armoires, few pieces have much collector’s value, but when conversion is completed in a craftsmanlike manner and no great violence is done to the piece, the utilitarian value is actually enhanced by finding a new use for an old piece. If you have to do some restoration work on a piece in this category, you probably will not reduce the value at all but rather enhance the utilitarian value in the long run if the restoration, including refinishing, is well done.

SENTIMENTAL VALUE—Going back to the opening paragraph about the sisters, why did they spend all that time and money on a broken-down chair? For the market value? For the utilitarian value? Probably not. They did not intend to sell the chair, and there certainly were other chairs in grandma’s house. They did it for the sentimental value of the rocker. Grandma probably remembered the chair when it was new, and it looks that way again. The sisters will always have the chair to remember grandma by and their time together working on it. What is that worth? It’s priceless. Sentiment is a very expensive hobby.

– Fred Taylor is the American Furniture Worthologist and an expert in furniture restoration. He’s published numerous articles on antiques on WorthPoint and in “Antique Trader,” “Chicago Art Deco Society Magazine,” “Northeast Magazine, “Victorian Decorating and Lifestyles,” “Professional Refinishing” and “The Antique Shoppe Newspaper.” Read more about Fred on his Worthologist profile, and check out his book “How To Be A Furniture Detective” and Fred and Gail Taylor’sDVD, “Identification of Older & Antique Furniture” on their very informative Web site, Furniture Detective.

Other articles by Fred Taylor:

Identifying Wood Species—Part I

Identifying Wood Species—Part II

Identifying Wood Species—Part III

A Fortune from the Kitchen Table

Understanding Antiques—the Arts and Crafts Movement

Understanding Antiques—the Arts and Crafts Movement Pt. 2

Antique Seating: What Are You Sitting On?

Dating Antiques? Check the Joinery

WorthPoint—the premier Web site for art, antiques and collectibles

When you’re considering buying an item or a painting that needs repair, as an antique dealer, you might ask yourself what the increase in value will be after its restoration. While I usually recommend the members of my antique business club, the 31 Club, to allow the purchaser do the restoration, there is that rare time it makes sense for you to have a piece restored.

One of our 31 Club members sent me a photo of a painting from a sales bulletin. It caught my eye, all right, and she planned to buy it. Before the sale, she contacted me again, saying the painting had some damage, but not too much. We agreed she’d bid on the piece without getting too carried away on the price. This painting soon became hers. She sent it to a restoration expert I recommended here in Chicago – Baumgartners, and yesterday I got to see it. Boy, is it a beauty!

The artist, Jean Dominique Van Caulaert (French 1877-1979) had a listing in Davensport of $9,000. While I don’t expect this one to do that well, at under $750 restored, I believe this is a real treasure. In fact, I like it so much I was thinking it would make a great addition to my own collection. But, I’m not going to do that this time. I’ve got enough for now, so look for this soon in the 31 Gallery.

While I don’t recommend you go out looking for damaged pieces, it you find a real quality piece, it might make sense if it is discounted enough. You see, when the restoration increases the value of a piece, by perhaps 5 to 7 times, that’s when you step forward and get the repairs done.

The Frederick Morgan painting I wrote about in my book was a painting I had relined. I bought it for $16,000 and this restoration didn’t reduce its value. It sold for $115,000 at auction at Christie’s New York. It would have been very easy to have walked away thinking it was no good because it had been “fooled with”. There are times you can be proud of the decisions you make and that was one of those decisions for me.

Usually, items should be left alone. I wouldn’t want to be looking for damaged pieces and get to be known as a dealer of repaired pieces. But if the discount is sufficient and the restored article will bring many times its cost plus repair, then jump on it.

*****

FREE MENTORING from Daryle Lambert. Visit www.31Corp.com ]]> http://www.worthpoint.com/research_library/when-should-i-restore-antique-or-fine-art-painting/feed 1 http://www.worthpoint.com/blog-entry/be-curator-your-own-collection http://www.worthpoint.com/blog-entry/be-curator-your-own-collection#comments Sat, 20 Sep 2008 22:21:49 +0000 Lynn Rosack http://blog.worthpoint.com/?p=2230459

What exactly are the Responsibilities of a Curator?

A Curator preserves history by collecting, selecting, cleaning, protecting, evaluating, interpreting and displaying objects of interest.

I am the Curator of my own collection, as you can be of yours!

I feel it’s not enough to accumulate antiques and collectibles … with ownership comes an implied duty to care for them and to share their meaning with others. A well-displayed collection is not only a testament to its owner/Curator but an inspiration to others who view it.

What can you do as Curator to best Honor your Collection?

1. Collect the best examples/upgrade as possible
2. Clean, then keep objects in display condition
3. Catalog each object with a description & photograph
4. Create displays that are both attractive & instructive
5. Continue to learn more about your objects
6. Share your knowledge with others
7. Volunteer to display your objects in public
7. Join an organization of similar collectors

Display, then Share Your Collection with Others

As a member of the Pressing Iron and Trivet Collectors of America, I have been fortunate to meet other “Curators” of personal collections. A lot of time, effort and love go into first acquiring, then displaying their prized irons and trivets. When I was in Kansas City recently for the 2008 Convention, those of us still in town on Sunday went to an Open House hosted by two local Members. The husband and wife housed their collection in a special room in their basement … and as you can see from the 1st photo, the display was both organized and attractive.

I have one long hallway where I display the majority of my trivets, but I find places to tuck in other small displays- like my collection of antique trivets surrounding an old French gilt mirror. And a low wall dividing a kitchen from the breakfast nook provides an ideal place to display trivets.

There are always opportunities to share your collection with others in your community! Contact your local paper and ask if they would be interested in doing a feature story about collecting. If your Public Library has locked display shelves, volunteer to create a display. Or take a few of your antiques to a local nursing home and present a program. Some of the audience may have used those very items in their youth!

With fll and then winter coming, there will be more time for indoor activities. Consider evaluating the current status of your collection. Have you kept accurate records and are your items in best condition and on display? If not, then consider (as Curator) what you need to do!

Lynn Rosack is a Worthologist who specializes in trivets and kitchenalia.

WorthPoint—Discover Your Hidden Wealth

Many years ago, I was in my office in Middleburg, Va., preparing for the live broadcast of my radio show, “Antique Talk.” My producers were comfortably ensconced in their offices in Detroit, and I was umbilically connected to them through my DSL line.

I had found that after being a rather esoteric dealer and appraiser in fine art and antiques, the requirement for this job, in addition to being charming and having a face for radio, was that I was to be a collectibles expert. This meant I should have a working knowledge of everything from, well, you name it, and everything in between.

The show was a call-in type where I was meant to appraise and identify antiques and collectibles, evaluate, give advice on preserving and restoring, suggest dealers and collectors across the country who might be interested in buying and sometimes just talk to people who really didn’t have any antiques but needed the connection.

First tea-caddy call

I must have fielded 10 calls that day about Weller Pottery, Depression glass, Noritake and the usual suspects when one came through from someone who lived just a few miles away. He had recently purchased a tea caddy.

For those of you not acquainted with tea caddies, they take many shapes and stylistic forms from small decorative boxes with interior compartments to containers shaped like fruit, made in wood, porcelain or precious and base metals. But for all the shapes and sizes, a caddy is meant to store tea, usually under lock and key. Tea was once an expensive commodity. Caddies also took on a ceremonious bent in tea’s preparation and serving.

The caller described the shape of the box—rectangular—its construction—very fine—and its two silver-leaf-lined interior compartments with lids. He went on to say it was made of mahogany with brass decorative corner fittings and lions’-paw feet. The dealer from whom he bought it said it was Regency, that exuberant period in England’s history where George III was mad and his excessive son took over.

I concurred that the era sounded right. I was not surprised when the caller told me he paid $550. The man wanted to know the name of a good restorer who could bring up the finish and basically make it look pristine. I personally don’t do pristine. I like my antiques to have the faces they’ve earned, but I gave him the name of a good restorer in the area and warned that while the restorer was excellent, he was also irascible, dour, spoke with a thick Scots accent and his shop looked like something right out of Charles Dickens. Thank you, bye, commercial break, on with the show.

Second tea-caddy call

A week later, I’m in my office and the phone rings. It’s the restorer. I recognize him immediately because he coughs loudly before speaking.

“Christopher,” he says, stringing out the R’s in my name. “That guy you referred to me with the tea caddy.”

“Yes, hello, Angus.”

“Right, yes hello.” Sometimes getting beyond salutations with Angus could be a wee bit tortuous. “Well, I’ve found something when I was working on it, and you’ve got to come over this afternoon and see what it is.”

“What is it Angus? Tell me what you’ve found.” But, no, he wasn’t going to tell me over the phone. “Are you coming over this afternoon or not?”

“Right, when?”

“Three.” Click.

Angus’ shop is in a little, blink-you’ve-missed-it village about 10 miles from my office. It has the feeling of a rag-and-bone shop with dirty windows, a padlock on the door and a general look of “go away” about it. At the door, as I pull up, I am greeted by a man waiting to get in. He introduces himself as the person I spoke to on the radio show.

We’re in the middle of pleasantries and not even have gotten to why we’re there when the door opens and there’s 6-foot, 5-inch Angus looming. Angus puts the “L” in looming, standing in the doorway.

Collectibles restorer puts tea caddy under spotlight

“Come in, come in,” he says, and we follow him past the kind of antique detritus I always long to pick through. Stuff packed from floor to ceiling with a narrow walkway through even more stuff. We enter the back room, which has the look of a germ-free operating theater. The tea caddy is sitting in the middle of a felt-lined worktable with a halogen spotlight beaming down on it. We’re the audience. Angus is the MC. We wait.

“I was cleaning the inside of the box,” Angus says, his cheeks as red as his hair as he is working up to real animation, “and was just going to touch up these brass decorative bits here on the corners when I must have pressed down and the base of the box came unattached. Here, let me show you.”

He presses the round brass circles on the opposite sides, and the base came off revealing a secret compartment. Now, lots of desks, writing tables, lap desks and boxes have secret compartments, but this one was virtually undetectable. We were making appreciative noises when Angus interrupted and said, “That’s not what I want you to see.” An expletive followed that I will omit.

“Here, look,” Angus directed. In the palm of his hand was a small red-leather drawstring bag. “I didn’t want to open it, this being not my property. That’s why I wanted you both here.” He hands the small leather bag to the owner, who looks first at Angus and then at me.

I can barely contain myself as the owner painfully, slowly opens the bag. He pulls out a many-folded piece of paper that is sealed with red wax. Angus passes him a knife blade. The owner carefully slits open the seal, unfolds the letter and begins to read.

Hidden pouch, hidden letter

“To my daughter Elizabeth Fordyce, given unto this day of April 2 1815 this gift given in love from your true mother, Susan Wilts. Though you have seen me many times you never knew. These are the tears that I shed for my loss.” It was simply signed, “your loving Mother”

The owner looked up from his reading and slowly upended the contents of the little red-leather pouch. Holding his hand out to the light, we saw six small but perfectly cut diamonds. Even the dour Scot had a tear in his eye.

Forgive me for crassness, however, I would be remiss if I did not put in the monetary significance of the gems. Diamonds were mined in Russia and could be afforded only by the extremely wealthy and kings and queens with sizable incomes. French nobility created court buttons out of diamonds. Queen Elizabeth I had her dresses and hair ornaments encrusted with them.

It is safe to say that in the first quarter of the 19th century, the six diamonds, which were at least 4 carats each, would have been worth $75,000 to $100,000.

Where this person acquired them will remain a mystery. She either had access or was in her own right extremely wealthy, which puts an interesting spin on the story. I often wonder about why “your loving Mother” gave up a child and then bestowed a king’s ransom on her.

Big Find? This was that and more. A collectibles story of remorse and love passed down through centuries—in a tea caddy.

– Christopher Kent is a member of the WorthPoint board of advisers and director of evaluations for WorthPoint. He is also an antiques and collectibles generalist, fine-arts broker and president of CTK Design.

One of the most frequent questions I receive at my shop is how to clean records.

I use a VPI record cleaner, which I recommend to anyone with a sizable collection or resale business. A vacuum- based cleaner like the VPI costs more than $500, so it’s probably not the best option for someone who only has 100 records sitting in the dusty basement.

There are many record cleaning kits that cost $20-$40. I don’t care for kits that use hand-held brushes that require you to use your arm as the fulcrum. In my experience, these brushes just redistribute dust and dirt on the record surface. They also can increase static electricity, which will attract more dust to the dry playing surface. I recommend using a soft cloth like the kind you would use to clean eye glasses. Dirtier records always will require more attention, but I find this method is at least as effective as using a brush.

For any cleaning method, you should use a liquid cleaning solution. There are commercial products available, but many collectors and dealers mix their own. They often recommend a mixture of 50 percent rubbing alcohol and 50 percent distilled water, along with a few drops of Photo Flo or non-abrasive soap (like shampoo or dish soap.) As with any cleaning method, a little trial and error should get you a process that you like. Practice on a few records you don’t care much about.

What about an album jacket or 45 label with an old price tag or radio station sticker that you don’t dare trying to peel off? Believe it or not, these remove easily with a little lighter fluid. Yes, lighter fluid! (I use Ronsonol).

Here’s how you do it: Saturate the sticker and the area around it. Don’t stress about the lighter fluid staining the jacket or label – it won’t. Give it a few seconds and then carefully start picking at the corners of the sticker with your fingernail. In most cases, the sticker will peel off quite easily. If not, be patient and let the lighter fluid dissolve the old adhesive.

This method does not work on all stickers/tape, including those that use water-based glues, but my success rate has been excellent. Words can’t explain the joy of removing old medical tape from a rare Fifties rockabilly 45 and leaving almost no trace of it ever having been there. Once the sticker and glue residue have been removed, allow about 15 minutes for the lighter fluid to evaporate. Again, practice with some records you don’t care about.

Let’s start with the absolute basics: all serious collectors desire items that are as near perfect as possible, and the closer to perfect an item is, the higher the price it can command.

On the other hand, movie paper in all conditions sells. Internet auctions of movie paper routinely sell (clearly labeled) lesser condition items with fading, tears, foxing, water stains, pin holes and a variety of other defects. Many of the worst defects on movie posters, lobby cards, inserts, and stills are along the edges where they can be hidden by mats or frames if desired primarily as a display item.Some dealers even note in their ads that they buy movie paper in “any condition.”

Factors affecting movie paper prices

It is important to note that factors other than condition affect movie paper prices. Many films were reissued with new art over the years. A serious collector checks to make sure whether the art is from the first run or a reissue.

Reissue movie paper may still bring considerable prices for very popular films. The easiest way to tell a reissue from an original is by comparing the copyright date of the paper to the initial release date. We’ll cover that in more detail in another paper.

Reproductions are usually worthless as collector’s items, although they may dress up a wall display of movie art.

The older movie paper is, the more you should expect some defects, particularly with photographs.

Common movie paper defects

Here’s a list of common movie paper defects:

Bleed-throughs – Writing, stamps, tape, stains or other marks on the back of the paper visible on the front. Such marks on borders do not affect value so much as those on prominent parts of the item.

Creases – Lines from folding, crumpling, or crimping the item. Their affect on value depends on how many creases exist and where they are. Creases, which may be deep enough to damage the item enough to crack through the color, leaving a white space, should not be confused with wrinkles, which are surface defects.

Fading – Loss of color and detail caused by exposure to sunlight or age leades to considerable loss of value in movie paper. It is less of a problem on the edges than on principal artwork.

Pin holes, drill holes, staple holes – All holes in movie paper affect its value, but those on edges and not torn generally won’t lower value nearly as much as those more visible. Drill holes were used to “mark” posters once used on building walls by placing them on a stack and drilling a hole top center.

Writing marks – Many exhibitors marked up movie paper for a variety of reasons, but not a few bored movie staffers handling the art occasionally doodled mustaches on stars, among other defacements. Obviously, the extent and type of marking will seriously affect a poster’s value. Actual marks off the art by exhibitors (With Bugs Bunny Cartoon Saturday!) bother some collectors less.

So, you want to try to clean an old oil painting. There are two main reasons why older paintings might look yellowish, dull, or dirty. First, they might actually be dirty! Secondly, older oil works were typically treated with a varnish coat to add sheen and gloss. This layer of varnish does protect the paint, but will darken and lose clarity over the years.

If want to risk removing the dingy varnish, most specialty art stores sell an emulsion designed to do just that. You should first try dabbing just a tiny bit of the solution in a discreet spot as a test. If you suspect that you can successfully remove only the varnish without harming the paint, proceed to work on larger swatches. Remember, there is considerable risk of damaging the painting or reducing the value and purity of the antique.

To remove common dust and dirt build up, a clean, very damp (not wet) cloth will do wonders. Some people have suggested white bread, or white bread dough to use as an “eraser” over the surface area. For everyday dust and hair, a vacuum cleaner with a very soft-bristled attachment set on a low suction setting is a perfect method. Search iantiqueonline.com for other suggestions from the antiquing community.

Good luck, and happy collecting!

There are many products out there on the market assuring you that their quick and easy method will not only clean your silver to its original pristine color and condition but will provide testimonials attesting to the efficaciousness of the product supplied by museums, cathedrals and “as seen on TV.” Ultimately, when done, they’ll have you convinced that your piece of silver will be whistling Dixie.

Unfortunately, these products are basically quick and easy dipping compounds or chemically-treated wadding or cloths that with prolonged use may ultimately damage your silver, whether it’s sterling or silver plate. There is a caveat to the use of these products which is, only severely tarnished (Black) silver, or silver that is corroded should be dipped, but once dipped, and thoroughly washed, should then be cleaned with a cream polish to remove any lingering tarnish or chemical residue, and will restore some of the original luster.

”Skinned” silver can’t be restored

In the past compounds, known as jewelers rouge (calcined ferrous sulphate), were liberally and almost exclusively used to clean silver. As a result most 18th and 19th century silver has a surface that is scratched and has a hard brilliant shine instead of a soft lustrous shine. This kind of silver, in collector’s parlance, is known as being “skinned,” and there is virtually no way, short of professional conservation, to regain the original patina.

Some of these cleaning compounds are still on the market and still being used. The process is to liberally apply, let dry, then rub like the dickens to remove the dried-on polish. The results with the kind of rubbing this requires is to remove, in silver plate, by degrees, the thin layer of silver applied to the base metal, and in sterling, to wear down the silver making it thinner by degrees. These products are to be avoided at all cost.

Here’s how to clean silver

Use a cream polish cleaner specially formulated for cleaning silver, never a cream cleaning compound formulated for other metals like brass and copper. I recommend Wrights Silver Cream–this company knows their stuff and has been producing an excellent products since the 19th century.

Liquid cleaners are less effective and more cost-prohibitive, because you use more of it to accomplish the same job, and it can leave a residue especially in silver filigree (ornate open work) designs that can build up and is difficult to remove.

Rinse, do not soak, the item to be cleaned in clear hot water prior to cleaning to remove dust and grime that has accumulated on the surface. Always use a soft cotton cloth when washing or drying silver-this is where the old under shirts come in handy.

Apply the silver cream to the surface with the sponge that is provided. Depending on the degree of tarnish, rinse out the sponge frequently in warm water, reapply a small amount of silver cream and continue the work on the piece until finished.

If you are cleaning filigree silver (open pierced work) use a SOFT toothbrush applied with silver cream and gently work the cream into the design, slowly dry the filigree work so that the cloth does not catch in the pierced open work and therefore damage it.

Do not over-clean silver

By that I mean, if your silver is engraved or an elaborate design is etched into the surface, allow some of the tarnish that has accumulated to remain in the design. This will actually enhance the design.

When item is thoroughly polished rinse in soapy warm water, rinse again in clear warm water, wiping with a soft cloth, then dry thoroughly. If you are drying silver boxes or items with attached lids do not hold the item by the lid as this could damage the hinge. Make sure the interior is completely dried. Once dried, if the piece is to be stored, try not to handle the item too much as the oils and acids in our skin will leave marks.

How to store your silver

Large silver pieces should be stored or displayed in airtight cabinets, as this type of storage will retard the tarnishing process. Specially designed silver storage bags can be used for larger silver pieces not on display.
When it comes to flatware, if you have a silver chest specially designed for storage this is best, otherwise use silver bags that are designed with slots to hold the individual pieces.

Regular use of silver flatware will enhance the patina and the enjoyment garnered from the use is tremendous. Avoid putting silver flatware in the dishwasher as some dishwasher detergents can actually tarnish silver.

Never soak knives that do not have solid handles. Most older or antique knives have a loaded compound like tar or plaster of Paris that holds the steel tang (metal shaft) in place, so soaking these types of knives will cause the filler compound to swell and will eventually split the silver handle.

Pay particular attention to knives with mother-of-pearl handles or ivory handles, these must be cleaned by hand. Some older or antique knives have steel blades, if not properly cleaned and dried will rust. There is an excellent product, Barkeepers Friend that is ideal for cleaning tarnished or rusted steel blades.

Get in the habit of regular silver cleaning

The truth is, most people clean their silver twice a year, whether it needs it or not. Usually this cleaning involves a holiday which is fraught with other time constraints and tension-producing situations, therefore making the silver cleaning arduous and yet one more thing that has to be done. If regularly cleaned, used and enjoyed, however, the psychology of silver cleaning can be altered.

Related Links:

Here are some links to products that will help you in the cleaning and preserving of your silver.

Wrights Silver Cream www.jawright.com
Bar Keepers Friend www.barkeepersfriend.com
Siverguard Storage Bags www.silverguard.com

I personally have a passion for antique table linen and usually can find great pieces in less august settings. Therefore, these pieces are sometimes in less than perfect condition. Double, triple and quadruple damask (categories which denote successive levels of thread quantity, the higher the better) in less than perfect condition are usually redeemable.

Most old linen is yellowed due to oxidation, and sometimes spotted due to improper or ineffective prior cleaning and storage. The cleaning process like the aging process will not achieve perfection over night, but never fear; with patience you will see results.

Step One: Never, and that would be never, put your antique table linens in the washing machine. The fabric, in some cases, is much too fragile to withstand the ringer/spin action. Antique table linens must be done by hand.

Step Two: Use oxygen bleach like Oxiclean or Tide. Never use liquid bleach even if heavily diluted, as prolonged exposure to liquid bleach will literally eat the fabric. I personally get great results with Tide (and no, I am not getting a kickback for the recommendation). Always use powder, never liquid. Presoak the linens in lukewarm water prior to adding them to a detergent solution. This will loosen the fabric and actually get some superficial residual dirt out of the fabric.

Step Three: Add three cups detergent to one gallon of water. The water must be very hot to activate the detergent. Add one gallon of warm water to solution. Drop each item, one at a time, into the soapy water and stir as each item is added. Allow mildly soiled items to soak for two days, stirring occasionally, and heavily soiled or discolored upwards to a week. (If soaking for a week rinse out the linens by hand in warm water and repeat the process)

Step Four: If you are eco-friendly, you may consider 2 cups white vinegar plus one-quarter cup salt, plus one cup lemon juice to one gallon of cool water. Pre-wash spots with lemon juice and salt prior to soaking. Soak upwards to two days. Repeat, if necessary.

Step Five: After desired whitening is accomplished rinse the linens twice in clear warm water. Never wring out the fabric but instead squeeze out the water then place it in a towel, wrap the towel around the items and press gently. The towel will absorb more of the water.

Step Six: Drying. Line drying in full sun is the best way to dry the linens, or lay small items out on wadded towels. Make sure the damp linen does not come in contact with metal, either in the wash line of by using a hanger; the metal may discolor the linen. In some parts of the world placing the linen flat on the grass aides in the whitening process, as the combination of chlorophyll and sunlight is a natural whitener. If drying outside is not possible use a laundry rack, preferably one that is plastic or vinyl covered wood, as untreated wood may leave a mark. Never dry linens in the dryer, as it will break down the fibers, but if you must set the heat gauge to delicate and remove the linens while still damp to iron them.

Step Seven: Ironing and storage. If linens have been washed and are to be stored indefinitely do not use starch when ironing — this will potentially yellow the linen and defeat all your hard work. Instead using an iron with a linen setting (usually the hottest) mist your linens with water and iron dry. You can use some of the commercially-scented products to moisten the linen such as rosewater or verbena. Make sure the scented product is an essence not an old based extract.

Ironing in creases, especially in napkins and table clothes will, over time, break down the fibers. If the linen is monogrammed with a raised design or all over embroidered, turn the fabric over onto a folded towel or completely cover your ironing surface with a towel or double folded white bed sheet before ironing. This will keep the monogram or embroidery raised and not flatten it. It will also prevent the tip of the iron from possibly ripping the fabric around the monogram.

Before storing make sure the linens are completely dry. If stored damp the linen may mildew, and that is virtually impossible to remove. If possible napkins, placemats and table clothes should be rolled over a tube.

For long time storage small items can be wrapped in acid free paper sleeves, or sheets of acid free paper can be used for larger items. For short time storage, place in a drawer or closet in a climate controlled environment.

Note: I love old wives tales about cleaning. If you have a great hint, I invite you to write in.

Have you ever passed up purchasing a wonderful piece of art pottery, flow blue, transferware or any other collectable ceramic or porcelain because it had horrible crazing or other stains? I know I have. Condition, condition, condition is the mantra that has been drilled into our heads. Only buy the best when purchasing our collectables and antiques.

However, it is possible to improve the condition of your china, pottery and porcelain finds using a cleaning solution.

Here’s the method I use to make my art pottery, porcelain and china bright and white.

The 40% peroxide solution

First, use only 40% hydrogen peroxide. This is not the peroxide you buy at the drug store. You need to buy the stronger type that is found at a beauty supply store. Always wear protective gloves to protect your skin from the burning peroxide.

I usually use a good size plastic storage container that can be sealed. I use plastic storage boxes that are large enough to lay a platter flat on the bottom. I will generally purchase 3 to 4 large 32 oz bottles of peroxide and pour into the plastic container. I soak the items sometimes for a month, and up to 6 months. I like my items to be completely covered as they soak.

The peroxide loses strength over time. You will know when to replace the peroxide because it tends to get discolored, and starts to have an odor. The brown crazing is usually old grease that has become trapped in the crazing of the glaze. This old grease darkens with age.

If I have a piece of porcelain that is more delicate, and I don’t want it soaking in peroxide for any length of time, I simply wrap the piece in old white rags soaked in peroxide, only putting the wet rags on the spots that need whitening. I place it in a large trash bag, and seal it. If using trash bag method, the rags will need re-soaking every few days, as they dry out.

Clean your pieces very carefully

Use great care with any cleaning method. It’s a good idea to try the method on an inexpensive piece before attempting to clean valuable pieces. After you have the piece as clean as you can, wash it with soap and warm water to clean off and residue of the peroxide.

NEVER USE CHORINE BLEACH! This will destroy the pottery, porcelain or ceramic piece. It literally eats it from the inside out. It makes the glaze flake of the piece.

Also, please make sure that you carefully look over any piece that you are going to soak. If restoration or repair has been made on a piece of pottery, porcelain or ceramic, chances are the piece will be ruined in this cleaning process. If in doubt ask a specialist in restorations before you try this.

Along the way, I try not to over-clean a piece. I don’t want to remove all the age; I just want the piece to display nicely. And if I’m careful, that’s just what happens.

Careful cleaning gets great results

Bear in mind, though, that I have even used this method on a piece of Limoges that was trimmed in gold, and it did not harm the gilt design, even though it was so badly discolored it had to soak for months.

As you’ll see, with patience, a little work and a lot of time, a bargain-priced and slightly-damaged collectable can be cleaned and its value increased.